Opposite to those of Bembo is a painting, a history of the Passion, representing our Redeemer before his judges, painted by Cristoforo Moretti,[35] the same, according to Lomazzo, who was employed with Bembo in the court of Milan, and also painted at the church of S. Aquilino. One of his Madonnas is still to be seen there, seated amid different saints, and upon her mantle I was enabled to decipher, _Christophorus de Moretis de Cremona_, in characters interweaved in the manner of gold lace. Cremonese writers call him the son of Galeazzo Rivello, and father and grandfather to several other Rivelli, all artists, Moretti being only an assumed appellation. From the inscription I have adduced, there appears some difficulty in the way of such a tradition, since _de Moretis_ is an expression importing a family name, not an acquired one. Whatever may be thought on this head, it is certain that he was one of the reformers of the art in Lombardy, and particularly in the branches of perspective and design; and in this history of the Passion, in which he excluded all kind of gilding, he is seen to approach the moderns. Footnote 35: See Lomazzo, Treatise on Painting, p. 405. Somewhat later, and not before 1497, Altobello Melone and Boccaccio Boccaccino, two Cremonese artists, were employed in completing the frieze of the cathedral. The former, according to Vasari, painted several histories of the Passion, truly beautiful and deserving of commendation. But he was the least consistent in point of style, introducing, as it has been observed, figures of small and large proportions in the same piece, and also least excellent in his frescos, colouring them in a manner that now gives them the look of tapestry. But he excelled in his oil paintings, as we gather from his altar-piece of Christ descending into Limbo, which is preserved in the sacristy of the Sacramento, a piece for which the canons refused to receive a large sum that was offered for it. The figures are very numerous, of somewhat long proportions, but coloured with equal softness and strength. His knowledge of the naked figure is beyond that of his age, combined with a grace of features and of attitudes that conveys the idea of a great master. In the Notizia of Morelli, his picture of Lucretia, painted for private ornament, is mentioned. It is executed in the Flemish style, and he is said to have been the pupil of Armanino, perhaps an artist of that nation.